This page contains a Flash digital edition of a book.
left: The Passage of the Bride II, 2004,
oil on Fuji lightjet on canvas, 100 x 125 cm
facing page: Hotel du Rhone, 2005,
oil on Fuji lightjet on canvas, 100 x 100 cm
“The reason I think of the women in these
paintings as ‘angels’ is because I’ve
tried to remove any eroticism about them.
Which is difficult to do, because they
are so beautiful”
for example; of wit and profundity; and of the tension between cool of women and of relationships with women. It is a form of romanticism,
mechanistic analysis and warmly poetic subject matter. Indeed, at times I suppose, but it’s not romantic in a sexual sense. The reason I think of
it seems as though Hamilton prefers to route discussion of his own art the women in these paintings as ‘angels’ is because I’ve tried to remove
through his lifetime’s concentration on that of Duchamp. any eroticism about them. Which is difficult to do, because they are so
It is by way of such a route, describing how ‘the lighting gas’ beautiful.”
described at the beginning of Duchamp’s notes for The Large Glass In a further autobiographical theme, the paintings that comprise
is reflected in Duchamp’s last work, Etant Donnés (1946–66), that A Host of Angels abound with art-historical references to works that
Hamilton explains the autobiographical nature of his own most recent Hamilton has found important or inspirational. In addition to reference
group of paintings. to the Matisse chapel at Vence (1947–51) and Duchamp’s Nude
“After Etant Donnés came out, I realised that the first drawing Descending a Staircase (1912), Hamilton’s spectacular interpretation of
that Duchamp made as a child – or the first that is known to exist – is of Fra Angelico’s Annunciation (c. 1450) – destined, perhaps, to be the
a lamp at the school where he was a student as a boy. He had drawn this star of the group – also raises, inevitably, questions relating to religion
light fitting, which was a gaslight; and then the arm that goes up from and spirituality. As regards the first of these, Hamilton is swift to refute
the figure in Etant Donnés is also carrying a gaslight. The continuity any intentional connection.
makes one aware that this wasn’t about a narrow subject – one goes “From my point of view, there is no religious aspect to it at
into a lot of subjects in a lifetime – and that Duchamp’s whole life was all. If I thought these would be seen in that light, then I would think it
somehow in that work. unfortunate. I have no religious interests whatsoever. I am interested
“I thought that Etant Donnés was Duchamp looking back in this simply from the point of view of the pleasure that the female
over his life, and the way he approached the figure. And so there is form gives me when I am sitting in the studio painting. Also I think it
something, also, in these later pictures of mine that has that aspect of derives a little from my relationship with my wife, Rita – I think of her
looking back over a wonderful experience that goes through a long life, as an angel.
p072-079 Richard Hamilton AR Jul76 76 25/5/07 01:53:35
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